Dirk Hoogeveen(1994-NL) studeerde in 2023 af aan zijn master bouwkunde aan de Technische Universiteit Delft (TU Delft). Dirk zijn werk is geïnspireerd door de verscholen narratieven van plekken, om deze vervolgens door middel van interventies bloot te leggen en te bevragen. Een poging om deze specifieke eigenschappen van plekken leesbaar te maken en zo voor een breder publiek open te stellen voor nieuwe interpretaties. Hierbij zet Dirk de contextuele aanpak van de architect op een bredere manier in. Het werk kan gecategoriseerd worden als locatiespecifieke interventies en installaties.
Infrastructuurtje #01 - Sculpture for the openingshow of the Kieken Centrale in Antwerp. Infrastructuurtje #1 shows the ruin as a landscape supporting the elements which are frequently erased or seen as ‘unhandy’. Instead of getting rid of the electrical cables, interpreting them as an architectural element in the exhibition space
Where Did The Horses Go? (2023) - For the exhibition “Where did the horses go” at projectspace Sekreet, I collaborated with Sjors Smit for a 10-day on-site working period to develop a series of new works.
Our inspiration came from the myth that the previous owner once housed cattle in the living room, using the toilet as a drinking trough. Our work seeks to reintroduce this narrative into the space through a series of architectural interventions.
A cut through the wooden floors, exposing the foundations of the building. Extending these foundations, we poured a new concrete pedestal, forming the basis for our column. The cut, together with the extended foundation, suggests that the architecture is build around our inserted column, shifting the architectural hierarchy within the space.
The character of the inserted column resembles that of a stable. To dress the column, we casted several aluminum hooks as ornaments, where the horses could be tied. We also casted some cowboy buckles, so that everyone can be a cowboy.
Mexicano, An Ode To The Dutch Cuisine (2023) - The mexicano is an iconic product. It can be found in any snackbar. Firstly, I was intrigued by its onconventional shape. Why did this family in Dordrecht press herbed meat into a mold? Why did they choose this caterpillar like form? Through my background of Industrial Design Engeering, I have a fascination for tools and methods of production. So I build my own foundry to cast these objects.
Just as food brings together people. I trade my mexicano’s with fellow artist’s, I trade them for their works or for their words. Before every trade I ask them what it means for them; the profession as an artist. I believe in the power of dialogue, as way to shape idea’s and as a way to develop a position. The mexicano became a tool for me to develop my understanding of what the artistic profession means.
I always keep one with me in the in my inside pocket. They work great for unexpected encounters. The mexicano evolves from being just snackbarfood to being a prop for these conversations.
5 x 12 x 2cm
casted aluminium
Performance Alledaagse Oplossingen (2023) - For Open Monumenten Dag 2023 we, Rogier Franssen & Dirk Hoogeveen, performed a conitunuos perfromance at exhibtion space Tale of A Tub.
Monuments and architectural heritage are often smurked by long lasting process of repairs and renovation. Pricey contractors and architects with an big ego. Time consuming negotiations, difficult legislation and tiring bureaucracy.
With our performance we presented a solution: We will repair all broken objects and dreams. Come by for a quick fix, a broken microwave, advice for a leaking roof or solutions in life. A solution for the bureaucratic proces which normally takes forever.
First, visitors were asked to fill out a form describing their problem, on the second page they had to draw their problem. After which we drawed a solution to their problem. Resulting in a drawing a exchange, all captured on transfer paper.
continuous
performance
Niet Vergeten, Dirk Hoogeveen (2023) - An advertisement for a young artist. A life-sized post-it note hung on an empty billboard in front of the entry at Boijmans van Beuningen Museum in Rotterdam.
290 x 290cm
paper, oil crayon, double-sided tape
De Eeuwige Zwemmer (2022) - Shall the swimmer ever return? The swimmer disappeared together with the lake, only the artefacts are left behind. The shiny fruit, the sticky bath slippers, the undressed pants and an unrolled bath towel. These artefacts depict a still life,
casted in aluminum. A scene recognizable for everyone. Placed between the ferns, blistering in the sun, waiting for the water and the swimmer to return.
De Eeuwige Zwemmer is inspired by the history of the Dutch peat territories. These execavations had a big impact on the organisation and perception of the contemporary Dutch landscapes. Most of the current lakes in The Netherlands were former peat excavations. However, when I visited the location, known for it’s peat history, there was no water to be seen.
The project title translates to ‘The Eternal Swimmer’.
120 x 60 x 20cm
casted aluminium
De Slangenmuur (2022) - De Slangenmuur is a maze of bricks, a play of bonds and patterns. Inspired by the historic ‘slangenmuur’. A free standing masonry wall because of its weaving geometry. The geometry invites the spectator to enter and wander, as goal play closer attention to the various bonds. A delicate world which often goes unseen by the non-architects in our ‘everyday’ built environment.
Just as children built castles on the beach, they use a the ordinary material to find form and to construct a world. Here, a group of architects did the same, using the ordinary material of brick, in search form and pattern to construct and expose the world of brick.
Groupwork (5000+ bricks) together with Koen Mulder, Rufus van den Ban, Nathan Chan en Sacha Oberski.
1000 x 500 x 200cm
bricks
Polderbricks (2021) - An installation in the ‘polder’ of Rotterdam, placed in a government-owned field using readily available brick materials. The location is owned by the government, and the field is intentionally left unbuilt and unused to ensure a sense of natural identity for the area. The intention is to preserve the identity of the polder landscape and its iconic views.
The field is maintained by the neighboring farmer; every couple of months, the grass is neatly cut, and all the weeds are removed. This farmer, through the act of weeding and cutting, determines the preserved view and thus the identity of that place. The farmer explained to me that if the fields were truly kept as a piece of nature, they would get out of control.
Polderbricks questions the concept of land ownership through the appropriation of this field. Who is in charge of determining what our ‘natural’ landscapes and territory should look like? To me, the decisions made in the maintenance of the public space have a great impact on the identity of a place.
Polderbricks was an intervention to start a conversation with the people surrounding the field. At the same time, it is always nice to get your hands dirty and play with some bricks.
various dimensions
bricks
The Desk (2019) - The exhibition theme investigates the contact zone as a new
methodological tool to better understand the globalness of architecture production. The Desk is a study into the role of being a judge. It uses Bernard Tschumi, while judging the 201 entries of the 1989 Shinkenchiku Residential Design Competition in October 1989, as a casestudy to explore the nature of the contact zone through the scenography of masculine powerplay.
Identifying a crave in the field of architecture. Can a spectator acquire the role of judge? Is it Tschumi who longs for power here, or can a piece of eagerness for power be found in every aspiring architect? Can the scene be found in everyday life? The identity of the desk-user is left to the spectator.
Simultaneously, The Desk is a reflection on my aspirations as a young architect. The personal discrepancy of me creating this scene and judging the powerplay - while at the same time longing for it. The Desk highlights this contradiction in desires.
One could say the installation depicts the human scale of the contact zone. The Desk creates a scene which one can easily relate to. Common objects dislocated from their environment to create a new reality. A particular reality which is unique for every spectator.
I am interested constructing scenes.
60 x 120 x 80cm
styrofoam, paper, fishing wire, wool
The Spiral - The Spiral is an installation which stimulates the act of gathering in
a non-biased way. The centerpiece light invites the spectator to enter the spiral, leading to a new reality:
A space of intimate anonimity.
Spectators are encouraged to engage and interact within a
personal distance. The spiral takes away the comfort of first
scanning the new conversational partner. Disposing the visual prejudice fora brief moment.
This project formed the starting point of working with installations and the production of space outside of architeture.
5 x 5 x 3,5m
stucloper, fishingwire, steel table, construction lamp
